Posts filed under ‘The 7th Python’

This week we are starting the second phase of social media publicity and marketing for my book The 7th Python. Previously we used as visuals the clever cartoon cover of the book by Owen Williams and two Gilliam-style animations that Ruth Barratt made for us. The copy was focused on letting people know about the book and its subject matter. But the book also has a sub-title: A Twat’s Tale. This is the name that Eric Idle called me, and so I took it on for the book. For this next phase we are going to use the same graphics but this time we’ve come up with some items- funny and informative – that have to do with twat, and yes, I’m afraid that both Donald Trump and Twatter do make an appearance.

Patrice Stephens is again doing our Digital Publicity with Nigel Passingham in charge of the campaign.

Tonight- Thursday March 10 – at 7.45 pm Sky Arts is broadcasting Part 4 of Monty Python: Almost The Truth- The Lawyer’s Cut. This series of 6 programmes was a history of the Python group made by the Pythons. The Lawyer’s Cut is well named because this episode deals largely with the making of Monty Python and The Holy Grail and the ‘cut’ that the lawyers made was to excise any mention of the Producer’s name. I am said Producer and all that remains of me is a photo of my young self which is not credited. In other words my image appears in the programme but not my name; I am like a ghost wandering through the show. See if you can spot my photo. I am to the Pythons as Trotsky was to Stalin. Like Stalin, the Pythons decided to re-write their history so as not to give me any credit for what I did for them. This came about because at the time this show was made we were in a dispute over Spamalot royalties. Their lawyers must have advised them not to give any publicity to my side of the story- hence I was airbrushed out of their history. I eventually won the case and the Pythons organised the O2 shows in 2014 to make enough money to cover their £ 1.3m legal costs. It is all documented in my new book The 7th Python: A Twat’s Tale.

This is what Terry Jones said of the series, “This is the documentary I always hoped that would be made — something so complete and so faithful to the truth that I don’t need to watch it.”

LITERARY EDITORS SHOULD KNOW YCLEPT IS OLD ENGLISH FOR ‘CALLED’. SEE THE PRODUCER’S TALE DIRECTED BY GEOFFREY CHAUCER.

Monty Python and the Holy Grail is a comedy classic. Consistently voted in the top ten of all comedy films, it is the most profitable independent film ever made in the UK and has achieved worldwide box office success. Forty years on it is still screened.

The young man who produced the film was Mark Forstater, an American from Philadelphia who shared an apartment in New York with Terry Gilliam, before coming to England in the mid-Sixties to study at film school. Forstater liked the country so much he decided to stay and has been living and working here ever since.

The 7th Python (A Twat’s Tale) tells the story of the ups and downs in the making of MontyPython and the Holy Grail. It lifts the visor off the sometimes brilliantly creative, sometimes fractious relationships between the Pythons. They were comedy icons but they were also, cue cliché, human with all too human frailties, which Forstater describes sans cliché.

Everything was fine, rosy and profitable until Eric Idle came up with the idea for Spamalot, a stage musical based on the film. Spamalot became a smash hit. As producer of the original film, Forstater was entitled to a percentage of the profits from the film and its spin-offs. But then his share of the royalties was arbitrarily slashed. Did anyone consult the ‘twat’? No, though for 30 years and more Forstater had received his agreed share.

Forstater tried to talk to the Pythons; he wrote to them; he tried to negotiate. But the mighty Python was stubborn as a goat. (Note to editors: mixed metaphors intentional.) So Forstater had to go to law which led to Eric Idle dubbing him a ‘twat’.

Forstater tells of his trials and tribulations before, during and after the trial. For seven long years, he tried to get the Pythons and their management to see reason, and for seven long years, he failed.

The final section of the book offers a lesson for those thinking of going to law. After endless writs, witness statements, witless statements, etc., the Pythons appear in court. The judge says the original agreement could have been drafted better. It ends moderately happily for Forstater – he wins – and very happily for the lawyers in that they all get their fees.

Forstater was sustained in this ordeal by his belief in the Tao. He is the author of The Spiritual Teachings of Yoga (with Jo Manuel), The Spiritual Teachings of the Tao, The Spiritual Teachings of Marcus Aurelius, The Spiritual Teachings of Seneca (with Victoria Radin), The Living Wisdom Of Socrates and with Rudolf Reder I Survived a Secret Nazi Extermination Camp (Psychology News).

A must-read for Python fans and anyone interested in comedy – and human frailty.

I don’t know if anyone has ever created an animated cover for a book before, but we may be doing something original and unique in our launch for the hardback version of my book The 7th Python.

We – editor David Cohen, publicist Nigel Passingham , webmaster Richard Cobelli , social media maven Patrice Stephens, and writer/publisher yours truly – have been preparing a campaign to launch The 7th Python on an unsuspecting world. The centrepieces of the campaign are two animated videos of the book’s (cartoon) cover, which we plan to send to influencers and web sites in the English-speaking world with the aim of making our cover (via the animations) go viral.

The cover itself (soon to be revealed) was created by cartoonist Owen Williams. We asked Patrice Stephens how best to saturate the web with our attractive, colourful and funny cover, and she suggested putting it on all the social media sites such as Facebook, Instagram, Twitter and so on. She thought that the striking image would attract attention. Nigel Passingham then suggested that if the image caught peoples’ attention for a couple of seconds, wouldn’t an animated version keep them viewing for longer. Patrice agreed and said that we would need two versions- a 15 second version for twitter and Instagram, and a longer version for other media.

We were lucky to find a young and talented animator in Ruth Barrett, who created the two animations for us – one 15 seconds and the other 54. Composer Helene Muddiman (Ice Age 4) arranged Sousa’s Liberty Bell March (Monty Python’s theme tune) into a jokey music score (inspired by comic Les Dawson’s piano routines), and we were ready to roll.

The challenge – not quite the 12 travails of Hercules – is to see how many people the video can reach who would then blog, busk and bitch about the book.

I never thought I would share a destiny with Leon Trotsky. Even though we are both Jewish (he was born Lev Davidovich Bronshtein) there is not much we have in common. The one thing we share is that we have both been airbrushed out of History.

After Lev broke with Stalin, Stalin had his publicity department airbrush Lev out of the photos that showed Lev’s role in creating the Soviet Union, in particular his role as the leader of the Red Army. He became one of the disappeared.

A while ago I was Watching the six part TV doc series of Monty Python: Almost The Truth (The Lawyer’s Cut). When I saw Episode 4 I began to understand how Lev must have felt. This episode dealt with the making of Monty Python and The Holy Grail, and I was intrigued to see that they managed to discuss the production of the film without interviewing or even mentioning the Producer of said film – i.e. me. There is one photo in which I appear but am unidentified.

This airbrushing was done because when this series was made I was already in dispute with the Pythons over Spamalot royalties. It did not suit their case to showcase my role in setting the film up in the way they wanted, and which benefited them enormously. So they just removed me from history. ‘Almost The Truth’ says it all.

I’ve just been watching The Last Impresario on Imagine (BBC1), a film about Michael White, the theatre and film producer. Michael was the exec producer of Monty Python and the Holy Grail, and he invested 50% of the budget. I liked Michael very much, and we worked well together. We eventually went on to do other things. such as a production of Woody Allen’s The Bluebird Of Unhappiness. He was incredibly helpful on the Holy Grail, because when we had a terrible preview of the film, Michael didn’t panic but helped to put up the additional money to redo the soundtrack. He was cool in the face of seeming disaster. Here is how I describe it in The 7Th Python:

The Disastrous First Screening

It was one of those evenings when Python flopped. – Terry Jones

Back in London, we worked hard to produce a cut of the film that we could show to the other Pythons and the investors.

The preview took place on October 1 1974 at the Hanover Grand Preview Theatre in central London. We had invited about 200 people, including most of the investors. This screening was one of the worst film experiences of my life.

Every screening has a certain mood that you can feel in the theatre, and the mood at the end of that screening was certainly pretty grim. People weren’t responding, they weren’t laughing the way they should have been. There was laughter at individual scenes, but no sustained build-up. The main problem was that the sound effects were too prominent. Because the comedy is quite slight, the jokes need to have a context in which they work, and if you overwhelm them with sound, they will just get drowned, which I think is what happened.

This was the first time that either of the two Terrys had ever done this kind of film sound mixing, so it’s very easy to try something which doesn’t work, and at that point it can all be thrown away, can all be redone. But someone who doesn’t know the technical side, might think looking at it, “God, this is it, and we’ve got to live with what we’re currently seeing,” which of course is not the case. A certain amount of inexperience may have led people to think it was a disaster which couldn’t be repaired.

Afterwards, there was a feeling of “This is a mess, what have we let ourselves in for?” I think there were people who probably felt the film was a lost cause. And it’s
very easy, when you’re in a position like this, to panic.

Eric Idle walked out halfway through the film; everyone else stayed to the bitter end. There was polite applause at the end. (Michael) White and (John ) Goldstone (executive producers) didn’t speak to the Pythons.

Here is how everyone remembered the event, in David Morgan’s book, Monty Python Speaks:

TERRY JONES: Terry G. had done the dub, and you know what it’s like when you’re making a film: you’ve got two or three sound editors working away for months and months building up wonderful, incredibly thick soundtracks. It started off everybody laughing at the beginning and then after a while just nothing; the whole film went through [with]
no laughter at all. And it was awful, I was sitting there saying, “It
just can’t be unfunny.”

JOHN GOLDSTONE: We’d already spent all the money by then and couldn’t quite go back to them and say, “Can you put up some more because we’d like to refinish it?” So we had to go to a bank and borrow money against personal guarantees to make up the difference.

TERRY JONES: So we went and redubbed it and as soon as anybody started talking I just took all the sound effects out, all the atmosphere, everything. I went through the entire film doing that, and that seemed to help, it was something about the soundtrack filling in all the pauses.

TERRY JONES: Neil Innes’ music sounded quaint, it didn’t have an epic
feel to it. And we’d run out of money by that time, so I went along
to De Wolfe Music Library in London and just took out piles and
piles of disks and just sat here at home trying out music to it, trying
to get something to work. So it felt like what you needed was really corny, heroic music.

NEIL INNES: The Arthurian themes were too thin with the instruments we had available- two French horns, two violins. Terry rang to say we can’t use the music because it’s just not strong enough. The 12 piece orchestra couldn’t cope with the 120 piece orchestral sound that the film required. Artistically it was a better solution to go to a library to get epic music. We would never have had the money to record that size score. I wasn’t that disappointed. I understood it. If it was my film I would have made the same choice.

We had some very heavy meetings over the next few days, a post mortem to see if we could bring this dead film back to life. Michael White was very supportive; he didn’t panic and I was glad that I had kept him involved in the production. In the end we remixed the film, bringing down the level of the sound effects to let the dialogue punch through, and added the mock heroic library music score. We knew there was a good film buried there, and if we went back and remixed it, we’d have a funny film. The next screening was very positive. Now we knew the film was very good, it was very funny, it was working well. I think everyone was very happy with it. So it was really night and day.

If the Pythons had not owned the film, the director (or directors) would probably have been replaced at that point, or at least told to stay out of the cutting room. But the structure I set up meant that even through a disaster, the two directors had the time (and we had to find the extra money) to let them correct their initial work.

Everyone benefited from the great success of the film, and thirty years is plenty of time for memories to blister and fade so that some of the Pythons seem to have had a bout of amnesia concerning who raised the money – and much else. The two Terrys, Graham and Michael all knew what my role had been, but Cleese and Idle had no involvement with the setting up of the film, so had no idea as to what I had done for them. This became a real problem when their management changed, and (their former manager) Anne Henshaw was no longer there to keep alive that memory.

I quote extensively from my journals in The 7th Python. I started a journal in 2001 after writing The Spiritual Teachings of Marcus Aurelius. Marcus Aurelius’ Meditations were basically his journal entries, and Professor Pierre Hadot had written in Philosophy As A Way of Life about how the ancients used journals to support their philosophy. Jules Evans in Philosophy For Life explains that daily journals were called hupomnemata in ancient Greece, and that keeping one brought a kind of Socratic dialogue into your intimate daily life. So inspired by Marcus I started to write about the events that happened to me and what I felt about them. I also considered my health, my meditation practice, and other items of personal interest.

When the dispute with the Pythons began, I started to write about those events, and kept going until the resolution of the case in 2013. In the book I decided to use quotes from the journals to show how the legal events were impinging on my inner life. I documented the stress I was undergoing, the financial struggles caused by the dispute, and my changing feelings towards the Pythons. I was also able to track my relation to the Pythons, which is a history of 40 years, from 1973-2013. In the journals I was able to acknowledge how we related to each other during the making of the film Monty Python and the Holy Grail in 1973-75, and what it was like during the dispute from 2005-2013. I was able, through the keeping of the journal, to recognise and alter my view of myself in relation to our break-up, which was traumatic for me at the time, and which was a constant psychological scar for many years. This ability, to look at the past through the prism of the present, was really helpful to me. I managed to lose a sense of blame and guilt that I had dragged with me for many years. It was in a sense an act of liberation, brought about by having to confront nakedly the painful events of the past through a new perspective of the present.
Here is an early journal entry:

October 29 2005

Today I read an article about I Ching and Synchronicity, which talked about how synchronicity was a resonance between the physical world – external events and happenings – and the psychic world-internal events and especially the meaning that one takes from the things that happen to you or appear to you.

This got me thinking about my Python problem, an external event dealing with money owed me, and which is providing me with some meaning – ie a lesson or advice about how to deal with life now and in the future. Jung’s archetypes and the I Ching hexagrams both provide symbolic images and ideas that reflect on the inner-outer resonance that is occurring between the mind and the world and provides a depth of spiritual meaning for interpreting the situation that exists. Tonight I will consult the I Ching about this situation and see what it says, but perhaps I need to reflect on the meaning of this problem and why it has happened now. What does it mean for me and what lesson does it hold?

It involves money, and would provide security of income for at least 5 years which will give me confidence to pursue my activities- either film or otherwise. It represents a pot of gold – worldly wealth that can provide benefits- security, confidence, reduction of debt etc. If I do not get this money, then what – am I insecure, lacking confidence? Or will I manage to get along, to keep going, find a way. Is my internal self or essence able to carry on as per normal (natural being) even if this money does not get paid to me. What is more important- your money or your life? When I consider the physical and mental state of my being, the quality of my relationships with others, and my relationship with the external environment, then surely this money is not really the important thing. Your life is good and solid, and means so much more than this cash.

Perhaps the lesson to be learned here is about values. What is more valuable and what is it important to maintain or to seek? Is it money or is it something else, something more valuable than money, something which has no cash value. If this problem makes you understand about what is truly valuable in your life, and to really appreciate these things in your life, and to give the value and importance far above the cash that you are owed, then you really would learn a valuable lesson, one that too is priceless.

Money has long been a kind of God for you, even a kind of nemesis, because money was very important to your mother and was the ultimate value system when you grew up. Dealing with money, having the right attitude to it has taken you years of inward therapy and it’s no surprise that it is a hefty money problem that you are forced to now face and to deal with in ways that leave you unhurt, still balanced and stable, not angry, not bitter, not full of regrets.

You have to learn the right perspective, how to live without getting what you are owed and not letting it damage your mind and heart. This is the lesson you must learn now and keep for all time.